Lauded for his “profoundly startling vocal resonance” (The New York Times) and “sweet and melancholy sound” (The Washington Post), Countertenor Daniel Moody is celebrated for his interpretations of contemporary and baroque opera and concert repertoire. He recently made debuts at the Metropolitan Opera in Brett Dean’s Hamlet as Rosencrantz, Atlanta Opera as Tolomeo in Giulio Cesare, and Cincinnati Opera as Nerone in Monteverdi’s L’incoronazione di Poppea, where the American Record Guide praised his performance for its “utter beauty…where he would start singing ever so sweetly and then just let his voice blossom out into something big and round and smooth.” In the 2022-2023 season, Moody makes his Vancouver Opera debut as Oberon in Britten’s A Midsummer Night’s Dream and returns to Cincinnati Symphony for Handel’s Te Deum. Additionally, he appears as Special Weapons Officer in Peter Knell’s Arkhipov presented by Jacaranda in Los Angeles, Nerone in West Edge Opera’s production of L’incoronazione di Poppea, Orlando in Orlando with Staunton Music Festival and Cooper/Qingu in Elena Ruehr’s Cosmic Cowboy with White Snake Projects in Boston.

 

Mr. Moody is a frequent soloist of leading symphonic and baroque orchestras, including appearances with Apollo’s Fire, Atlanta Symphony Orchestra, Baroque Chamber Orchestra of Colorado, Philharmonia Baroque, and Les Violons du Roy. His appearance with Philharmonia Baroque alongside mezzo-soprano Anne Sofie von Otter and conductor Nicholas McGegan was described as a “combination of tenderness and theatrical verve” (San Francisco Chronicle). He has been featured in a number of Mark Morris’ productions, including Britten’s Curlew River and Purcell’s Dido and Aeneas at the Brooklyn Academy of Music and at the Tanglewood Music Festival where the Financial Times noted his “inspired and absorbing performances.” He has worked with such conductors as Daniella Candillari, Nicholas Carter, David Hill, Nicholas Kramer, Bernard Labadie, Ken Lam, Nicholas McGegan, Robert Moody, Thomas Søndergård, Jeannette Sorrell, Masaaki Suzuki, Kent Tritle, and Gary Wedow.

 

In 2018-2019, Moody made his solo debut at Carnegie Hall Stern Auditorium with the Oratorio Society of New York. Later that week, he performed on the same stage as a soloist with Musica Sacra. Moody’s tapestry of early music collaborations include Boston, Indianapolis and Washington Early Music Festivals, Staunton Music Festival, baroque band Acronym at the Isabella Stewart Gardner Museum in Boston, Early Music New York, Early Music Access Project, Gamut Bach Ensemble presented by Philadelphia Chamber Music Society, La Fiocco, and Mountainside Baroque Portland Baroque Orchestra, and San Diego Bach Collegium, and Three Notch’d Road - The Virginia Baroque Ensemble. 

 

A proponent of new music, Moody starred in a leading role in the world premiere of Hannah Lash’s chamber opera Desire, presented at Columbia University’s Miller Theater in collaboration with the JACK Quartet. Moody also worked with Nico Muhly on his song cycles at Saint Thomas Church Fifth Avenue in New York City. In 2016, Moody gave the American premiere of George Benjamin’s Dream of the Song at the Festival of Contemporary Music at Tanglewood Festival. 

 

Moody’s additional operatic highlights include performing the title roles in Giulio Cesare and Rinaldo, Arsamene in Xerxes, Lichas in Hercules, and Didymus in Theodora. A graduate of the prestigious Yale Voxtet, resident at the Yale Institute of Sacred Music, Moody has performed as a soloist at Lincoln Center’s Alice Tully Hall, London’s St. John’s Smith Square, and Cambridge’s Trinity College. His performances have been broadcast live on BBC Radio 3 in the United Kingdom, on Boston’s WGBH, Indiana’s WFIU, and WSHU’s Sunday Baroque.

 

Moody is also a graduate of the Peabody Conservatory and has won several awards in the Metropolitan National Council Auditions, George London Competition, Handel Aria Competition, New York Oratorio Society Competition, and Russell Wonderlic Competition.